Cynthia notes

1. Speech patterns.

The trouble of rote memorization, an atlantic practical aesthetics "trap."

Practical Aesthetics "traps."

The architecture of thought IS found in the punctuation, and on a more subtle level in the parts of speech, the way of speech. i.e. antithesis and all of that, but that's all in the punctuation. punctuation is your clue to all that.

You are memorizing thoughts. What is a thought? anything that falls between two punctuation marks. any kind of punctuation marks, commas, colons, periods, and each punctuation mark and each sound is part of the architecture and contributes to the crystalization of the impulse.

"The architecture of the scene."

The complexity comes from the architecture of the scene and the thought, which is all contained in the literal. The literal is the architecture of the scene, and the step 1 is not all the literal is good for, but it is a summary of the literal elements. complexity doesn't come from the complexity of your human soul, or human implse. unecessary pressure on your impulse having self to have to carry the complexity of the scene on the back of your human truth. the complexity is already LITERALLY there in the architecture of the scene.

The diagram with the laser light at a certain angle shot into a reflecting shape, and vibrating the thing.

What is literally there. You're "sherlock holmesing it." be an effective detective. more fun that way.

The literal is hot, it should get you hot. nothing should take energy out of the scene. everything in the analysis should make the scene more specific and exciting, and dramatic. In ther words the literal should comprehend the STORY. call it drama, or call it story. I like stoy. but the literal should be excitin because it is specific to the STORY.

2. The want is not the whole scene. It's the first moment of the scene. Okay? Doesn't that make more sense. Because that's how e want things in life, and it makes the whole business unexpected. You don't want to anticipate the whole scene.

why is acting hard? Acting is hard because you have to do the same thing every night as if it were not the same. You have to act like you don't know what's goig to happen when you know exactly what's going to happen everysingle night. Let analysis help you with that.

By making the want start at the beginning of the scene, you do yourself a favor in not acting your idea of how the scene should play.

THIS APPLIES LIKEWISE to the as-if. Let the as-if be as heart-wrenching as you need it to be, but make it something you could theoretically get at the first moment.

3. Action: "what kind of an act would that be?" if you were to get your want. Avoid the obstacle thing, unless you need to.

4. As-if. see above note. Why is as-if into scene not a good representation of the scene itself? it's just an exercise. As-if into scene is just an exercise to let you play the action in the scene. HOWEVER> a scene that starts at the beginning of a want, will not start as-if it were in the middle or emotional peak of another scene. It's the beginning of the scene.

The beginning of the scene IS THE BEGINNING OF THE SCENE.

as-if into scene is not real.

The scene is the scene. effective detectives. The play is your everything. uncover it. Literally. THe literal is hot.